当“漆”不再只是器表的装饰，而成为思想的剖面、时间的容器、跨学科的接口，我们得以在深沉如夜的漆光中，窥见东方哲思与当代精神的交汇。正在广东美术馆新馆展出的“器物之外——漆艺的诗与思”，为我们呈现的正是这样一个关于漆艺的新世界。本次展览是2024-2025年度广东省美术馆青年策展人扶持计划的入选项目。我们将通过读懂艺术家系列推送，聚焦唐明修、谢震、张温帙、郭小一、施鹏程五位参展艺术家，看看他们是如何在媒介的拓边与观念的裂变中，将漆艺重新激活为可对话、可质疑、可生长的当代艺术载体。

 

艺术家简介 

 

Artist Biographies

 

谢震

 

1967年出生于江苏省苏州市，现任苏州工艺美术职业技术学院副教授，中国美术家协会会员。

 

Xie Zhen

Born in 1967 in Suzhou, Jiangsu Province. Xie Zhen is an associate professor at the Suzhou Art & Design Technology Institute and a member of the China Artists Association.

 

作品阐释

Work Interpretation:

 

界上•山月No.2

On the Boundary · Mountain Moon No.2

苎麻布、苎麻纤维、天然漆

Ramie fabric, ramie fiber, natural lacquer

225 × 95 cm

2017年

 

界上•山月No.4 & No.5

On the Boundary · Mountain Moon No.4

天然漆、麻布、麻丝纤维

Natural lacquer, linen, linen fiber

200 × 70 cm

2025年

 

对莫名虚空的怀想，渺然于云气间跳跃精灵的静谧、清和微光，是《界上》系列“山月”绘画主题的思源。漆画受既有强势绘画艺术的影响，并努力靠近，诸多借鉴因此发生。原生的土漆被精炼，加入新技术工业颜料，变得异彩纷呈。

 

A quiet yearning for the ineffable void—a realm where ethereal mists shimmer and elfin spirits leap in silence and clarity—lies at the origin of the Mountain Moon theme within the On the Boundary series. Influenced by dominant traditions of painting, lacquer art has long strived for proximity and dialogue, leading to numerous forms of appropriation. Raw native lacquer has been refined, enriched with contemporary industrial pigments and technologies, resulting in a palette of striking brilliance and complexity

 

天问•流浪星球 平面作品No.1—N0.10 

Heavenly Questions · Wandering Planet, Panel Works No.1–No.10

 

麻布脱胎造型、彩色大漆叠髹、剔刻、皱漆

Linen-molded lacquer forms, layered colored lacquer, carving, textured lacquer

95 × 120 cm × 10 

2025年

 

这系列意象为“陨石”的作品，造型都包含了某些人文的遗存和审美元素：有新石器的燧石、砍砸器、上古的骨针、中古的窑内测温的瓷器“照子”、以及贯穿整个汉文明审美的天然赏石，尤其表面预设的孔洞，既来源于太湖石的水冲石洞，一种基于自然力完成的“通道”，也隐喻由宇宙引力形成的“黑洞”，以连接未知世界的“背面” 。

 

This series of meteorite-inspired sculptures incorporates traces of cultural relics and aesthetic elements from human history. Their forms evoke Neolithic flint tools and choppers, ancient bone needles, medieval kiln-fired porcelain test pieces (zhaozi), and naturally weathered scholar’s rocks that embody the aesthetic sensibilities of Han civilization. The deliberately crafted apertures on their surfaces draw from the water-worn hollows of Taihu stones—natural “passages” shaped by erosion—while also metaphorically referencing cosmic black holes, portals to the unknown “reverse side” of the universe shaped by gravitational force.

 

博山·茶弈

Boshan · Tea and Weiqi

 

大漆装置

Lacquer installation

尺寸不定

Dimensions variable

2002-2013年

 

依据古代漆器如博山炉的形态，故意添上如铁锈斑的暗灰黄色氧化“漆病”，重新诠释漆器美学，令观众幻想“开炉”点香之时方能呈现的美感。

 

Drawing inspiration from the form of ancient lacquerware such as the Boshan censer, this work deliberately introduces dark gray and ochre "lacquer corrosion" reminiscent of rust-like oxidation. Through this intentional “imperfection,” the artist reinterprets the aesthetics of lacquerware, inviting viewers to imagine the beauty that emerges only when the censer is “opened” and incense is lit—revealing an ephemeral elegance born of ritual and time.

 

审定 / 涂晓庞

审校 / 曾睿洁

资料提供 / 张艺

图片 / 杜悦儿

编辑 / 张萌